Doris Brent

A small, seemingly innocuous plastic reel of film leads surveillance specialist Tom Welles down an increasingly dark and frightening path. With the help of the streetwise Max, he relentlessly follows a bizarre trail of evidence to determine the fate of a complete stranger. As his work turns into obsession, he drifts farther and farther away from his wife, family and simple life as a small-town PI.

Dr. Bill Cortner and his fiancée, Jan Compton, are driving to his lab when they get into a horrible car accident. Compton is decapitated. But Cortner is not fazed by this seemingly insurmountable hurdle. His expertise is in transplants, and he is excited to perform the first head transplant. Keeping Compton's head alive in his lab, Cortner plans the groundbreaking yet unorthodox surgery. First, however, he needs a body.

Michael Keenan's film Rain takes us in from the main title to the payoff of its namesake. The heat and the throbbing music provide the indolent rhythm of the troubled life of Alex the cabdriver. The story is simple: New York as Hell. The noise, the sensory intrusions and the blistering heat don't stop those who can't leave from going about their business, forcing them into their own worlds sometimes to extreme degrees. Alex keeps moving, her taxi as metaphor, and waiting. Waiting is an active verb here. The sound effects, score, and chaotic images of New York captured by Robert LoScalzo come alive as the workings of Alex's interior anguish as well as the real exterior of the City.

The life of a twenty-five-year-old Garden State native becomes topsy-turvy after he meets a New York model.